Irving in 1880, reawakened the public interest in the ghosts of
the theatre; and the spectre that rose from the stage as from a
cellar, and crossing it, gained his full stature gradually as he
proceeded, was for some time a great popular favourite, though
burlesque dogged his course, and a certain ridicule always attended
his exertions. The fidgety musical accompaniment brought from Paris,
and known as "The Ghost Melody," by M. Varney, excited much
admiration, while the intricate stage machinery involved in the
production of the apparition of Louis dei Franchi gave additional
interest to the performance. Of late years the modern drama has made
scarcely any addition to our stock of stage ghosts. The ingenious
invention known as the Spectral Illusion of Messrs. Dircks and Pepper
obtained great favour at one time, and awakened some interest upon the
subject of theatrical phantoms. But it soon became clear that the
public cared for the Illusion, and not for the Spectre. They were
concerned about the mechanism of the contrivance, not awed by the
supernatural appearances it brought before them.
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